Following this initial burst from the water, the production then captured the two actors themselves “cascading in slow motion over camera,” relates Seiple, who captured the shot under natural light. Seiple adds, “It’s really beautiful with the water dripping off them and falling past camera, and there’s a sun flare peeking right through them. Shooting Phantom is always a blast.”

Reflecting on an arduous production that nevertheless, and by all accounts, had a distinct “summer camp” vibe, Kisvarday notes that the production’s “ambitions were always bigger than what we were actually able to do — which is a great way to [work], because you never settle and never stop trying to make things better, right up until we shoot. A whole team of people was excited about finally making this movie that we’d been talking about for years, and everyone’s enthusiasm, energy and adrenaline carried us through the project.”

Kwan further opines that Swiss Army Man is about “how shame keeps us alone, isolates us and creates lonely people, and this film deals with that on the most base level. If it boils down to one thing, it’s about shame keeping us from love, and how every act of making this film is a way of us fighting back, and not being shamed — by creating these characters who have so much to be ashamed of, but allowing them to be celebrated.”